Gastbeitrag von Dr. Freya Terryn
Fig. 1: Front cover of Hyakunin isshu jokunshō with a printed title slip (daisen 題簽) that reads “Hyakunin isshu jokunshō zen 百人一首女訓抄全” (Annotated Lessons for Women of One Hundred Poets, One Poem Each – Complete). – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA
Nicknamed the ‘artist of mist, snow, and rain’, Utagawa Hiroshige 歌川広重 (1797–1858) is one of the leading creators of the landscape imagery in Japanese woodblock prints, or ukiyo-e 浮世絵. In the 1830s he made a name for himself in the genre of topographical views, starting with his meisho-e 名所絵: prints recording famous places of Edo (now Tokyo). His decisive breakthrough followed with his prints depicting the various stations along the Tōkaidō road, a travel route connecting Kyoto with Edo, and with his prints showing landscapes of the various provinces. Nor should we forget that he was also prolific in prints of birds and flowers, actors, beautiful women, historical figures, prints of humorous content, and he made an abundant number of designs for fan prints.
Like many ukiyo-e artists, Hiroshige also created illustrations for books. It is said that he worked on more than 120 illustrated books and illustrated at least 50 kyōka anthologies. Kyōka 狂歌 (literally ‘mad/crazy verse’) are parodic or humorous renditions of traditional waka 和歌, Japanese poetry in a 5‑7‑5‑7‑7 meter. Hiroshige displays a close affinity to this genre of poetry as his first printed work consisted of book illustrations for a collection of kyōka, entitled Kyōka Murasaki no maki 狂歌紫の巻 (The Murasaki Book of Witty Poems), published in 1818. Hiroshige’s connection to Japanese poetry continued throughout his career and also manifested itself in the pictorialization of the classical Japanese anthology One Hundred Poets, One Poem Each (Hyakunin isshu 百人一首; henceforth Hyakunin Isshu). Such an example is the illustrated woodblock-printed book Hyakunin isshu jokunshō 百人一首女訓抄 (Annotated Lessons for Women of One Hundred Poets, One Poem Each; Fig. 1).
This book is the subject of a research project that explores the connection between the Hyakunin Isshu and the Hiroshige studio. More specifically, this project looks at how the Japanese woodblock print artists Utagawa Hiroshige and his successor Utagawa Hiroshige III 三代歌川広重 (1842–1894) interpreted the Hyakunin Isshu in books illustrated with woodblock prints (ehon 絵本). With a grant awarded by the Stiftung Preußischer Kulturbesitz (Prussian Cultural Heritage Foundation), I consulted Hiroshige’s book Hyakunin isshu jokunshō in the collection of the Staatsbibliothek zu Berlin (Berlin State Library; henceforth SBB), in July 2022. The SBB is to my knowledge the only collection in Europe that houses a copy of this book. During my time at the SBB, I conducted a close analysis of the book’s bibliographic data, its physical properties and component parts, while placing the book in the history of the visual and textual representation of the anthology.
Hyakunin isshu jokunshō was originally published in 1848 and proved popular enough to be reprinted three times: in 1849, 1851, and 1858. The book was a product of the highly commercial world of Japanese printmaking, and as a book illustrated with woodblock prints it was conceived, designed, published, and distributed by representatives of many different trades and professions working in collaboration. Today we can identify three parties who were involved in the book’s production, namely the publisher, the visual artist, and the writer. Other parties, such as the papermakers, binders, block cutters, and printers, remain anonymous.
The publisher of Hyakunin isshu jokunshō is Honya Matasuke 本屋又助 (dates unknown). While next to nothing is known about this publisher, an analysis of the back matter of the book’s copies from 1848, 1849, 1851, and 1858 does shed more light on his activities as a publisher and with what intention he published this book. As the back matter of Japanese books often reveals imprint information and contains the publisher’s catalog that records forthcoming titles and books currently on sale, it is possible to reconstruct the timeframe and content of the publisher’s activities. So far, I have been able to analyze back matter of digitized copies dating from 1849 and 1851 and the SBB copy (shelf mark: 5 A 230984 ROA), which is a reprint from 1858. Unfortunately, 1848 copies are rare and can only be found in collections in Japan — which remain, for now, undigitized.
From this analysis it is clear that Honya Matasuke was primarily active in the 1840s and 1850s as a publisher who issued books ranging from educational topics – for young children in general as well as aimed specifically at girls –, literary works, and illustrated books of sumo wrestlers and warriors to painting and drawing manuals. In addition, advertisements for the book included in copies from 1849 and 1851 confirm that this particular Hyakunin Isshu project was devised as an illustrated book for children and women to learn and easily understand waka poems by means of the annotated descriptions accompanying them.
Honya Matasuke was able to achieve this educational objective with the layout of the poems. As demonstrated by Fig. 2, which introduces on the right the poem composed by Emperor Jitō (Jitō tennō 持統天皇; 645–703; reign 686–697) and on the left the poem by Kakinomoto no Hitomaro 柿本人麿 (c. 653–655-c. 707–710), each page consists of a long vertical strip that contains the poem – which, with its shape, represents the tradition of composing poems on long narrow strips of colored paper –, followed by an annotated description explaining the meaning of the poem and an imaginary portrait of the poet below it. Especially the annotated descriptions were crucial for many readers to comprehend the meaning of the poem as the Hyakunin Isshu represents the history of Japanese poetry from the seventh century down to the time of Fujiwara no Teika 藤原定家 (1162–1241), who is accredited with selecting the poems. Thus, these poems contain poetic language that was at least four centuries old and that was often difficult to interpret. To provide readers with the correct interpretation of each poem, Honya Matasuke employed Yamada Tsunenori 山田常典 (1808–1863), a writer and waka poet who had received a rigorous training in waka poetry and other Japanese literary classics, making him the ideal candidate to write annotations for this Hyakunin Isshu project.
Fig. 2: Poems by Emperor Jitō and Kakinomoto no Hitomaro. – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA, 10v–11r
Next to Yamada Tsunenori, Honya Matasuke also employed not one but two visual artists. One artist was tasked with illustrating the imaginary portraits of the poets, for which the artist employed the formula of representing the poets as invariably seated figures on a raised platform with a decorated edge (Fig. 2). Similar to other illustrated books that used this formula since the 1660s, these portraits omit the signature of their maker. Therefore, it is impossible to know the identity of this artist.
The other artist Honya Matasuke employed was Utagawa Hiroshige. The presence of his signature confirms that he was tasked with illustrating eight folded sheets that were placed before the main bulk of the book that educates its readers on the one hundred poems and their interpretation (Fig. 3). From the content of these illustrations it becomes clear that Honya Matasuke intended to expand the content of the book by dedicating illustrations to The Tale of Genji (Genji monogatari 源氏物語, early 11th entury), The Tales of Ise (Ise monogatari 伊勢物語, c. 980), and silkworm cultivation. Hiroshige’s illustrations also introduce other waka poets and poems, such as the 12 poets from the Collection of Japanese Poems of Ancient and Modern Times (Kokin wakashū 古今和歌集, 905), poems relating to The Eight Views of Ōmi (Ōmi hakkei 近江八景, 15th–16th century), and specifically introduce Murasaki Shikibu 紫式部 (c. 973/978–c. 1014/1031), the author of The Tale of Genji, and Fujiwara no Teika.
This deviation from the core of the Hyakunin Isshu was not irregular because with the inclusion of these additional pages, Honya Matasuke succeeded in presenting this book as an ōraimono 往来物. As a result, Hyakunin isshu jokunshō can be labeled as a book belonging to the genre of instruction manuals issued for teaching children how to read and write and to the genre of conduct books aimed at female readers in particular. Thus, perfectly matching with Honya Matasuke’s objective for the book.
Fig. 3: These two pages contain illustrations by Hiroshige. At the top right he illustrated the poems and scents of the four final chapters of The Tale of Genji, namely Ukifune 浮舟, Kagerō 蜻蛉, Tenarai 手習, and Yume no ukihashi 夢の浮橋. At the top left, he illustrated three waka poems on the sun, the moon, and the stars. Below these illustrations we find a depiction of The Tales of Ise that shows courtier-poet Ariwara no Narihira 在原業平 (825–880) upon his sighting of Mt. Fuji (chapter nine of The Tales of Ise). – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA, 12v–13r
The consultation of Hiroshige’s book at the SBB has greatly enriched my research on the connection between the Hiroshige studio and the Hyakunin Isshu. My research stay allowed me to work on my transcribing skills and to learn more about Hiroshige and his illustrated books. I have presented preliminary findings of this research project on three occasions: an online presentation for the Berlin State Library on November 3, 2022; at the academic conference Book Historical Forum VI at the University of Leuven on November 25, 2022 (in Dutch); and at the seminar series ‘Culture in Perspective: South and East Asia’ at Ghent University on March 14, 2023. Currently I am still conducting research on this project and plan to consult an 1848 copy in a Japanese collection in the near future. Updates on this research will be revealed on my personal website and on Twitter.
Bio:
Dr. Freya Terryn is a postdoctoral researcher in Japanese Studies at the University of Leuven (KU Leuven, Belgium) and specializes in Japanese visual and print culture of the nineteenth century. With the support of a PhD Fellowship from the Research Foundation Flanders, she recently completed her PhD in Japanese Studies at the University of Leuven. She currently teaches courses on Japanese culture, art history, classical Japanese grammar, translation from Japanese to Dutch, and academic writing. When it comes to research, she is enthusiastic about the arts and material culture of eighteenth- and nineteenth-century Japan, with a particular focus on prints, illustrated books, and paintings. She also explores issues relating to artistic and commercial collaboration, the interaction between governing bodies and artists, pictorial quotation, exhibition culture, Japonisme, and the formation of Japanese art collections in Europe.
Der Beitrag erschien zuerst im SBB Blog.
Frau Dr. Freya Terryn, KU Leuven, war im Rahmen des Stipendienprogramms der Stiftung Preußischer Kulturbesitz im Jahr 2022 als Stipendiatin an der Staatsbibliothek zu Berlin. Forschungsprojekt: „The One Hundred Poets, One Poem Each across generations: A case study of picture-and-poetry books illustrated by Hiroshige and Hiroshige III“
Online-Werkstattgespräch zu dieser illustrierten Ausgabe am 3. 11. 2022
New Database Trials – NK Pro and KCNA Watch
/in Aktuelle Testzugänge, Aktuelles/by CrossAsia(English below)
Liebe Nutzende,
Wir freuen uns, Ihnen mitteilen zu können, dass wir Ihnen einen Testzugang zu NK Pro und KCNA Watch bieten können – zwei Plattformen, die detaillierte Nachrichten, Daten und Analysen zu Nordkorea liefern.
NK Pro (www.nknews.org/pro) ist eine erweiterte Plattform, die Funktionen wie Expertenanalysen, Zugang zu proprietären und Quellendatenbanken, exklusive Nachrichten und ein Archiv mit Nordkorea-Nachrichten bietet. Dieser Service bietet eine breite Palette von einzigartigen Einblicken in Nordkorea.
KCNA Watch (www.kcnawatch.org) ist ein vollständig durchsuchbarer nordkoreanischer Nachrichtenaggregator. Diese Plattform ermöglicht den Nutzern den Zugang zu einer umfangreichen Sammlung von offiziellen nordkoreanischen Medieninhalten, die alle an einem Ort zusammengefasst sind.
Die beiden Datenbanken werden von der Korea Risk Group (NK Consulting Inc.) betrieben.
Wir bitten Sie diese Ressourcen während der Testphase zu nutzen und freuen uns sehr über Ihr Feedback oder Kommentare. Ihre Rückmeldung helfen uns dabei zu eruieren ob wir ein Abonnement abschließen werden.
Ihr / Euer
X-asia Team
————————-
Dear Users,
We are excited to announce that we have arranged trial access to NK Pro and KCNA Watch, two comprehensive platforms providing in-depth news, data, and analysis on North Korea.
NK Pro (www.nknews.org/pro) is an advanced platform that includes features such as expert analysis, access to proprietary and sourced databases, exclusive news, and a North Korea news archive, offering a wide range of unique insights into North Korea.
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The two databases are operated by Korea Risk Group (NK Consulting Inc.). We strongly encourage you to explore these resources during the trial period and would deeply appreciate any feedback or comments. Your input will assist us in evaluating the potential for a future subscription.
Yours
CrossAsia team
CrossAsia Talks: Dr. Julia Schneider 28.6.2023
/in Aktuelles, Veranstaltungen, Vortragsreihe "CrossAsia Talks"/by CrossAsia(See English below)
Wir freuen uns sehr Ihnen den Vortrag von unserer aktuellen Stipendiatin Frau Dr. Julia Schneider (University College Cork) mit dem Titel “Incredibly woke or cancel culture at its best? The Qianlong emperor’s censorship of Ming books (1770s–1780s)” am Mittwoch, den 28. Juni ab 18 Uhr im Dietrich-Bonhoeffer-Saal (Potsdamer Straße 33, 10785 Berlin) ankündigen zu dürfen. Der Fokus des Vortrags liegt auf der Agenda des Qianlong Kaisers in der sogenannten „Literarischen Inquisition“ (1772–1788) und welche Diskurse nicht-chinesischer Personengruppen in vor allem mingzeitlichen Texten für zensurwürdig erachtet wurden.
Did the Qianlong Emperor of the Manchu Qing Dynasty (1636/1644-1912) issue an anti-racist campaign when he forbade Chinese books that discredited non-Chinese others? In my lecture, I aim to answer this question by introducing passages and terms that made Qing officials collect books for censorship. I focus on the so-called literary inquisition (c. 1772–1788) of the Qianlong emperor which particularly censored books from Ming times (1368–1644). Among other criteria, censors were liable to collect and destroy books that contained partial or derogatory descriptions of the Jurchen (the Manchus’ ancestors), Liaodong (the region of Manchu origin), and non-Chinese peoples in the northwest (the Manchus’ allies).
As a Manchu emperor, the Qianlong emperor belonged to a people that was a numerical minority if compared to the Chinese, the largest constituency among the Qing subject peoples. From an analysis of books that were censored for the above-mentioned reasons we can learn if the Qianlong Emperor indeed attempted to end a hegemonic Chinese discourse on ‘barbarians’ that he perceived as harmful to his dynasty. How did Ming historians understand and narrate non-Chinese history, which of their narratives did Qing censors find worth censoring, and why? A textual analysis of relevant passages in censored books will provide new insights into the Qianlong emperor’s agenda of censorship and his censors’ reading of Chinese discourses on non-Chinese peoples.
Die Vortragssprache ist Englisch. Wir bitten Sie um Voranmeldung für den Vortrag unter: ostasienabt@sbb.spk-berlin.de und eine kurze Mitteilung falls Sie einen barrierefreien Zugang benötigen. Die Veranstaltung wird gefilmt.*
Der Vortrag wird darüber hinaus via Webex gestreamt. Sie können am Vortrag über Ihren Browser ohne Installation einer Software teilnehmen. Klicken Sie dazu unten auf „Zum Vortrag“, folgen dem Link „Über Browser teilnehmen“ und geben Ihren Namen ein.
Alle bislang angekündigten Vorträge finden Sie hier. Die weiteren Termine kündigen wir in unserem Blog und auf unserem Twitteraccount an.
Alle Informationen zum Stipendienprogramm der SPK an der Staatsbibliothek zu Berlin finden Sie hier.
—
We are very pleased to announce the lecture by our grant holder Dr. Julia Schneider (University College Cork) entitled “Incredibly woke or cancel culture at its best? The Qianlong emperor’s censorship of Ming books (1770s-1780s)” on Wednesday June 28th at 6 pm in the Dietrich-Bonhoeffer-Saal (Potsdamer Straße 33, 10785 Berlin). The focus of the lecture is on the Qianlong Emperor’s agenda in the so-called “Literary Inquisition” (1772-1788) and which discourses of non-Chinese groups of people were deemed worthy of censorship in mainly Ming-period texts.
Did the Qianlong Emperor of the Manchu Qing Dynasty (1636/1644-1912) issue an anti-racist campaign when he forbade Chinese books that discredited non-Chinese others? In my lecture, I aim to answer this question by introducing passages and terms that made Qing officials collect books for censorship. I focus on the so-called literary inquisition (c. 1772–1788) of the Qianlong emperor which particularly censored books from Ming times (1368–1644). Among other criteria, censors were liable to collect and destroy books that contained partial or derogatory descriptions of the Jurchen (the Manchus’ ancestors), Liaodong (the region of Manchu origin), and non-Chinese peoples in the northwest (the Manchus’ allies).
As a Manchu emperor, the Qianlong emperor belonged to a people that was a numerical minority if compared to the Chinese, the largest constituency among the Qing subject peoples. From an analysis of books that were censored for the above-mentioned reasons we can learn if the Qianlong Emperor indeed attempted to end a hegemonic Chinese discourse on ‘barbarians’ that he perceived as harmful to his dynasty. How did Ming historians understand and narrate non-Chinese history, which of their narratives did Qing censors find worth censoring, and why? A textual analysis of relevant passages in censored books will provide new insights into the Qianlong emperor’s agenda of censorship and his censors’ reading of Chinese discourses on non-Chinese peoples.
The lecture will be held in English. We kindly ask you to register in advance at: ostasienabt@sbb.spk-berlin.de, and to let us know if you need barrier-free access. The event will be filmed.*
The lecture will also be streamed via Webex. You can take part in the lecture using your browser without having to install a special software. Please click on the respective button “To the lecture” below, follow the link “join via browser” (“über Browser teilnehmen”), and enter your name.
You can find all previously announced lectures here. We will announce further dates in our blog and on Twitter.
All information on the SPK research grant programme at the Staatsbibliothek zu Berlin can be found here.
*Mit Ihrer Teilnahme an der Veranstaltung räumen Sie der Stiftung Preußischer Kulturbesitz und ihren nachgeordneten Einrichtungen kostenlos alle Nutzungsrechte an den Bildern/Videos ein, die während der Veranstaltung von Ihnen angefertigt wurden. Dies schließt auch die kommerzielle Nutzung ein. Diese Einverständniserklärung gilt räumlich und zeitlich unbeschränkt und für die Nutzung in allen Medien, sowohl für analoge als auch für digitale Verwendungen. Sie umfasst auch die Bildbearbeitung sowie die Verwendung der Bilder für Montagen. / By participating, you grant the Stiftung Preußischer Kulturbesitz and its subordinate institutions free of charge all rights of usage of pictures and videos taken of you during this lecture presentation. This declaration of consent is valid in terms of time and space without restrictions and for usage in all media, including analogue and digital usage. It includes image processing and the usage of photos in composite illustrations. German law will apply.
Testzugang Encyclopedia of Turkic Languages and Linguistics Online
/in Aktuelle Testzugänge, Aktuelles/by Duncan PatersonLiebe Nutzende,
wir haben einen Testzugang für ein neues Referenzwerk: Encyclopedia of Turkic Languages and Linguistics Online des Anbieters Brill. Zugang für CrossAsia Nutzer unter: http://erf.sbb.spk-berlin.de/han/brillturkiclang/ .
Wir freuen uns auf Ihre Rückmeldungen.
Ihr / Euer
X-asia Team
Dear Users,
A new trial access to the reference work Encyclopedia of Turkic Languages and Linguistics Online published by Brill is available. Access for CrossAsia users via http://erf.sbb.spk-berlin.de/han/brillturkiclang/ .
We are looking forward to your feedback.
Your
X-Asia team
CrossAsia Talks: Fengyu Wang 15.6.2023
/in Aktuelles, Veranstaltungen, Vortragsreihe "CrossAsia Talks"/by CrossAsia(See English below)
Wir freuen uns sehr Ihnen den Vortrag von Herrn Fengyu Wang (Universität Heidelberg) am 15.6.2023 ab 18 Uhr im Simon Bolivar-Saal (Potsdamer Straße 33, 10785 Berlin) zum Thema “The Karmic Origins Painted Anew: The Reproductions of the Hachiman Handscrolls” ankündigen zu dürfen.
Hachiman engi 八幡縁起 oder Die karmischen Ursprünge von Hachiman erzählt von der mythischen Eroberung Koreas durch Kaiserin Jingū 神功皇后, der Geburt ihres Sohnes, Kaiser Ōjin 応神天皇, und seinen wundersamen Erscheinungen als Gottheit Hachiman, wörtlich “acht Banner”. Da die Verehrung von Hachiman seit dem späten dreizehnten Jahrhundert weit verbreitet war, wurden illuminierte Handrollen mit seiner Gründungslegende vervielfältigt und den neu gegründeten Hachiman-gū-Schreinen im ganzen Land gewidmet. Der Satz von zwei Schriftrollen in der Sammlung der Staatsbibliothek zu Berlin mit dem Titel Konda Hachiman engi 誉田八幡縁起 oder Die karmischen Ursprünge des Konda Hachiman ist eine Kopie einer Version der Hachiman-Schriftrollen von 1433 aus dem 18. bis 19. Letztere war eine der drei Hachiman-Handrollen, die der sechste Ashikaga-Shogun Yoshinori 足利義教 (1429-1441) im selben Jahr als Teil seines grandiosen Projekts der Hachiman-Verehrung neu in Auftrag gab. Die Praktiken der Herstellung von Kopien und Reproduktionen waren ein herausragendes Merkmal bei der Entwicklung der Hachiman-Handrollen, wobei die neu geschaffenen Versionen mit devotionalen, soziopolitischen und ästhetischen Werten versehen wurden. In diesem Vortrag werden die Berliner Hachiman-Handrollen und ihr Original von 1433 im größeren Kontext der Reproduktion von Hachiman engi untersucht.
Das Berliner Set war eine von sieben weiteren Versionen von Hachiman-Rollen, die 2015 im Rahmen des Hachiman Digital Handscrolls Project an der Universität Heidelberg untersucht wurden. Sie ist nun auch auf der neu gestalteten Oberfläche des Projekts Japanische Handrollen der Staatsbibliothek zu Berlin verfügbar.
Die Vortragssprache ist Englisch. Wir bitten Sie um Voranmeldung für den Vortrag unter: ostasienabt@sbb.spk-berlin.de und eine kurze Mitteilung falls Sie einen barrierefreien Zugang benötigen. Die Veranstaltung wird gefilmt.*
Der Vortrag wird darüber hinaus via Webex gestreamt und aufgezeichnet. Sie können am Vortrag über Ihren Browser ohne Installation einer Software teilnehmen. Klicken Sie dazu unten auf „Zum Vortrag“, folgen dem Link „Über Browser teilnehmen“ und geben Ihren Namen ein.
Alle bislang angekündigten Vorträge finden Sie hier. Die weiteren Termine kündigen wir in unserem Blog und auf unserem Twitteraccount an.
—
We are very pleased to announce the lecture of Mr. Fengyu Wang (University of Heidelberg) on 15.6.2023 from 6 pm in the Simon Bolivar-Saal (Potsdamer Straße 33, 10785 Berlin) on the topic “The Karmic Origins Painted Anew: The Reproductions of the Hachiman Handscrolls“.
Hachiman engi 八幡縁起 or The Karmic Origins of Hachiman, narrates Empress Jingū’s 神功皇后 mythical conquest of Korea, the birth of her son, Emperor Ōjin 応神天皇, and his miraculous manifestations as the deity Hachiman, literally “eight banners.” As the Hachiman veneration became widespread since the late thirteenth century, illuminated handscrolls of his inception legend were reproduced and dedicated to the newly founded Hachiman-gū Shrines across the country. The set of two scrolls in the Staatsbibliothek zu Berlin collection, titled Konda Hachiman engi 誉田八幡縁起 or The Karmic Origins of the Konda Hachiman, is an eighteenth-to-nineteenth-century copy of a 1433 version of Hachiman scrolls. The latter was itself one of the three sets of Hachiman handscrolls that the sixth Ashikaga shogun Yoshinori 足利義教 (1429–1441) newly commissioned in the same year, as part of his grandiose project of Hachiman veneration. The practices of making copies and reproductions were a prominent feature in the developments of the Hachiman handscrolls, where devotional, socio-political, and aesthetic values were imbued into the newly created versions. This talk will examine the Berlin set of Hachiman handscrolls and its 1433 original in the larger context of reproducing Hachiman engi.
The Berlin set was one of seven other versions of Hachiman scrolls investigated by the 2015 Hachiman Digital Handscrolls Project at Heidelberg University. It is now also available on the newly designed interface of the Japanese Handscrolls project of the Staatsbibliothek zu Berlin.
The lecture will be held in English. We kindly ask you to register in advance at: ostasienabt@sbb.spk-berlin.de, and to let us know if you need barrier-free access. The event will be filmed.*
The lecture will also be streamed and recorded via Webex. You can take part in the lecture using your browser without having to install a special software. Please click on the respective button “To the lecture” below, follow the link “join via browser” (“über Browser teilnehmen”), and enter your name.
You can find all previously announced lectures here. We will announce further dates in our blog and on Twitter.
*Mit Ihrer Teilnahme an der Veranstaltung räumen Sie der Stiftung Preußischer Kulturbesitz und ihren nachgeordneten Einrichtungen kostenlos alle Nutzungsrechte an den Bildern/Videos ein, die während der Veranstaltung von Ihnen angefertigt wurden. Dies schließt auch die kommerzielle Nutzung ein. Diese Einverständniserklärung gilt räumlich und zeitlich unbeschränkt und für die Nutzung in allen Medien, sowohl für analoge als auch für digitale Verwendungen. Sie umfasst auch die Bildbearbeitung sowie die Verwendung der Bilder für Montagen. / By participating, you grant the Stiftung Preußischer Kulturbesitz and its subordinate institutions free of charge all rights of usage of pictures and videos taken of you during this lecture presentation. This declaration of consent is valid in terms of time and space without restrictions and for usage in all media, including analogue and digital usage. It includes image processing and the usage of photos in composite illustrations. German law will apply.
Written Mongol Romanised Vocabulary ist online!
/in Aktuelles, ITR und Entwicklungen/by CrossAsiaAb sofort steht Ihnen das Tool „Written Mongol Romanised Vocabulary“ im CrossAsia Lab zur Verfügung. Das Tool bietet eine Suche nach mongolischen Vokabeln in kyrillischer Schrift und verschiedenen Transliterationen. Der Wortschatz ist derzeit auf Lemma aus Buchtiteln im Besitz der Staatsbibliothek beschränkt. Weitere Updates sind geplant.
Dieses Tool wurde unter Mithilfe unseres ehrenamtlichen Mitarbeiters, Dr. Michael Balk, entwickelt. Das Ehrenamt an der Staatsbibliothek machte dieses Tool möglich. Written Mongol Romanised Vocabulary zeigt, wie das Ehrenamt positiv auch auf die Weiterentwicklung der Staatsbibliothek und ihrer Services wirkt.
Im CrossAsia Lab finden Sie weitere IT-Anwendungen und –Tools, die im Kontext von CrossAsia entwickelt und zur freien Nutzung zur Verfügung gestellt werden. Schauen Sie gern vorbei!
Im Juni: Testzugriff auf die Heian ibun
/in Aktuelle Testzugänge, Aktuelles, Datenbanken/by Ursula FlacheDas CrossAsia Team freut sich bis Ende Juni 2023 für registrierte Nutzer:innen einen Testzugriff auf die Heian ibun (平安遺文) anbieten zu können. Bei den Heian ibun handelt es sich um die einschlägige Materialsammlung zu historischen Dokumenten sowie Metall- und Steininschriften der Heian-Zeit (794-1185). Das Werk ist chronologisch geordnet und bietet neben einem kommentierten Katalog eine Zusammenstellung von gut 5500 Dokumenten. Es erschien ursprünglich in fünfzehn Bänden zwischen 1947 und 1980 beim Verlag Tōkyōdō unter Federführung des Historikers Takeuchi Rizō (竹内理三, 1907-1997). Die online Version beruht jedoch auf der überarbeiteten Ausgabe der Jahre 1974 bis 1998 in elf Bänden und ist ein Segment innerhalb der über CrossAsia angebotenen Datenbank JapanKnowledge.
Um die Heian ibun zu recherchieren, loggen Sie sich bitte wie üblich ein und rufen Sie JapanKnowledge über die Datenbankseite von CrossAsia auf. In JapanKnowledge finden Sie die Heian ibun in dem Bereich „JKBooks“ unter „遺文シリーズ/Ibun series“. Die Heian ibun können sowohl über die einfache Suche (基本検索) als auch über die ausführliche Suche (詳細検（個別）索) im Volltext durchsucht werden. Darüber hinaus kann über die Bücherregalfunktion (本棚) in den einzelnen Bänden geblättert werden. Die Onlineausgabe bietet neben dem elektronischen Volltext auch die entsprechende Seite aus dem Druckexemplar, was ein Lesen der Einträge in übersichtlicher Form erlaubt. Darüber hinaus sind die Datensätze mit der Datenbank des Historiographischen Instituts der Universität Tokyo verknüpft, die ebenfalls die Heian ibun anbietet. Gegebenenfalls sind über diesen Link auch Scans der Originaldokumente einsehbar.
Wenn Sie eine dauerhafte Lizenzierung befürworten, bitten wir unbedingt um Ihr Feedback unter x-asia@sbb.spk-berlin.de
Vielen Dank!
Nähere Informationen finden Sie auf der Seite des Datenbankanbieters:
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CrossAsia Talks: Prof. Dr. Paul U. Unschuld 25.5.2023
/in Aktuelles, Veranstaltungen, Vortragsreihe "CrossAsia Talks"/by CrossAsia(See English below)
Wir freuen uns Ihnen den Vortrag von Prof. Dr. Paul U. Unschuld (Charité Berlin): “Historical Resonances Illuminated – The Chinese Handwritten Health Care Volumes of the 16th through the 20th Century (Sammlung Unschuld, Staatsbibliothek zu Berlin) as Resources of Knowledge” am 25.5.2023 ab 18 Uhr im Dietrich Bonhoeffer-Saal (Potsdamer Straße 33, 10785 Berlin) ankündigen zu dürfen. Der Vortrag wird ein Schlaglicht auf chinesische Medizintexte werfen.
With the acquisition of the “Sammlung Unschuld” the Staatsbibliothek zu Berlin has significantly expanded its holdings of East Asian manuscripts. The Sammlung Unschuld includes more than 1000 volumes, dating from the 16th century to the mid-20th century, of personal records on health care, handwritten by professional physicians and itinerant healers, by the owners of apothecary shops and private households, by exorcists and Buddhists, students and other concerned individuals. These are documents opening a window on the reality of professional and lay health care in pre-modern China. They serve to correct an ahistorical image associated with the spread of so-called “Traditional Chinese Medicine” in the West. In addition, they offer countless clues on social life and natural knowledge not found in printed texts and other sources of the time. The Institute for Chinese Life Sciences (ICL) of Charité Universitätsmedizin Berlin has explored these texts from a medical-historical perspective. At the same time, in collaboration with the molecular-biological research group Bicoll in Martinsried and Shanghai and funded by the Federal Ministry of Education and Research, it has examined more than 40 000 therapeutic recipes recommended in these volumes for hints at substances that may have a value in a science-based health care system. This talk will address and portray both the historical and the application oriented agenda pursued by ICL.
Die Vortragssprache ist Englisch. Wir bitten Sie um Voranmeldung für den Vortrag unter: ostasienabt@sbb.spk-berlin.de und eine kurze Mitteilung falls Sie einen barrierefreien Zugang benötigen. Die Veranstaltung wird gefilmt.*
Der Vortrag wird darüber hinaus via Webex gestreamt und aufgezeichnet. Sie können am Vortrag über Ihren Browser ohne Installation einer Software teilnehmen. Klicken Sie dazu unten auf „Zum Vortrag“, folgen dem Link „Über Browser teilnehmen“ und geben Ihren Namen ein.
Alle bislang angekündigten Vorträge finden Sie hier. Die weiteren Termine kündigen wir in unserem Blog und auf unserem Twitteraccount an.
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We are pleased to announce the lecture by Prof. Dr. Paul U. Unschuld (Charité Berlin): “Historical Resonances Illuminated – The Chinese Handwritten Health Care Volumes of the 16th through the 20th Century (Unschuld Collection, Staatsbibliothek zu Berlin) as Resources of Knowledge” on 25.5.2023 from 6 pm in the Dietrich Bonhoeffer-Saal (Potsdamer Straße 33, 10785 Berlin). The lecture will shine a spotlight on Chinese medical texts.
With the acquisition of the “Sammlung Unschuld” the Staatsbibliothek zu Berlin has significantly expanded its holdings of East Asian manuscripts. The Sammlung Unschuld includes more than 1000 volumes, dating from the 16th century to the mid-20th century, of personal records on health care, handwritten by professional physicians and itinerant healers, by the owners of apothecary shops and private households, by exorcists and Buddhists, students and other concerned individuals. These are documents opening a window on the reality of professional and lay health care in pre-modern China. They serve to correct an ahistorical image associated with the spread of so-called “Traditional Chinese Medicine” in the West. In addition, they offer countless clues on social life and natural knowledge not found in printed texts and other sources of the time. The Institute for Chinese Life Sciences (ICL) of Charité Universitätsmedizin Berlin has explored these texts from a medical-historical perspective. At the same time, in collaboration with the molecular-biological research group Bicoll in Martinsried and Shanghai and funded by the Federal Ministry of Education and Research, it has examined more than 40 000 therapeutic recipes recommended in these volumes for hints at substances that may have a value in a science-based health care system. This talk will address and portray both the historical and the application oriented agenda pursued by ICL.
The lecture will be held in English. We kindly ask you to register in advance at: ostasienabt@sbb.spk-berlin.de, and to let us know if you need barrier-free access. The event will be filmed.*
The lecture will also be streamed and recorded via Webex. You can take part in the lecture using your browser without having to install a special software. Please click on the respective button “To the lecture” below, follow the link “join via browser” (“über Browser teilnehmen”), and enter your name.
You can find all previously announced lectures here. We will announce further dates in our blog and on Twitter.
*Mit Ihrer Teilnahme an der Veranstaltung räumen Sie der Stiftung Preußischer Kulturbesitz und ihren nachgeordneten Einrichtungen kostenlos alle Nutzungsrechte an den Bildern/Videos ein, die während der Veranstaltung von Ihnen angefertigt wurden. Dies schließt auch die kommerzielle Nutzung ein. Diese Einverständniserklärung gilt räumlich und zeitlich unbeschränkt und für die Nutzung in allen Medien, sowohl für analoge als auch für digitale Verwendungen. Sie umfasst auch die Bildbearbeitung sowie die Verwendung der Bilder für Montagen. / By participating, you grant the Stiftung Preußischer Kulturbesitz and its subordinate institutions free of charge all rights of usage of pictures and videos taken of you during this lecture presentation. This declaration of consent is valid in terms of time and space without restrictions and for usage in all media, including analogue and digital usage. It includes image processing and the usage of photos in composite illustrations. German law will apply.
CrossAsia Talks: Prof. Jun Sugawara 6.7.2023
/in Veranstaltungen, Vortragsreihe "CrossAsia Talks"/by CrossAsia(See English below)
Wir freuen uns sehr Ihnen den Vortrag von Herrn Prof. Jun Sugawara (Lanzhou University) mit dem Titel “The History Concealed in the Narrow Alley (tar kocha): Organizing and Researching the Kashgar Document Collection” am Donnerstag, den 6.7.2023 ab 18 Uhr im Dietrich-Bonhoeffer-Saal (Potsdamer Straße 33, 10785 Berlin) anzukündigen. Im Mittelpunkt des Vortrags steht die Kashgar Document Collection und ihre Bedeutung für sozial- und wirtschaftsgeschichtliche Erforschung Xinjiangs.
From the 21st century onward, one of the remarkable changes in Central Eurasian historical studies has been the investigation of indigenous documents alongside traditional historiographies. These sources, which include Islamic legal documents relating to real estate sales, debts, commercial transactions, legal disputes, religious donations (waqf), as well as personal memoranda, letters, accounts, and miscellaneous pieces of paper, have the potential to enrich historical research beyond conventional political and incident histories into a more nuanced understanding of social and economic histories. This talk will first introduce the historical background, acquisition process, and initial arrangement of the Kashgar Documents Collection, which was discovered in the old city of Kashgar in 2002 and transferred to Xinjiang University of China in 2014.
Die Vortragssprache ist Englisch. Wir bitten Sie um Voranmeldung für den Vortrag unter: ostasienabt@sbb.spk-berlin.de und eine kurze Mitteilung falls Sie einen barrierefreien Zugang benötigen. Die Veranstaltung wird gefilmt.*
Der Vortrag wird darüber hinaus via Webex gestreamt und aufgezeichnet. Sie können am Vortrag über Ihren Browser ohne Installation einer Software teilnehmen. Klicken Sie dazu unten auf „Zum Vortrag“, folgen dem Link „Über Browser teilnehmen“ und geben Ihren Namen ein.
Alle bislang angekündigten Vorträge finden Sie hier. Die weiteren Termine kündigen wir in unserem Blog und auf unserem Twitteraccount an.
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We are very pleased to announce the lecture by Prof. Jun Sugawara (Lanzhou University) entitled “The History Concealed in the Narrow Alley (tar kocha): Organizing and Researching the Kashgar Document Collection” on Thursday, July 6, 2023 at 6 pm in the Dietrich-Bonhoeffer-Saal (Potsdamer Straße 33, 10785 Berlin). The lecture will focus on the Kashgar Document Collection and its significance for social and economic historical research on Xinjiang.
From the 21st century onward, one of the remarkable changes in Central Eurasian historical studies has been the investigation of indigenous documents alongside traditional historiographies. These sources, which include Islamic legal documents relating to real estate sales, debts, commercial transactions, legal disputes, religious donations (waqf), as well as personal memoranda, letters, accounts, and miscellaneous pieces of paper, have the potential to enrich historical research beyond conventional political and incident histories into a more nuanced understanding of social and economic histories. This talk will first introduce the historical background, acquisition process, and initial arrangement of the Kashgar Documents Collection, which was discovered in the old city of Kashgar in 2002 and transferred to Xinjiang University of China in 2014.
The lecture will be held in English. We kindly ask you to register in advance at: ostasienabt@sbb.spk-berlin.de, and to let us know if you need barrier-free access. The event will be filmed.*
The lecture will also be streamed and recorded via Webex. You can take part in the lecture using your browser without having to install a special software. Please click on the respective button “To the lecture” below, follow the link “join via browser” (“über Browser teilnehmen”), and enter your name.
You can find all previously announced lectures here. We will announce further dates in our blog and on Twitter.
*Mit Ihrer Teilnahme an der Veranstaltung räumen Sie der Stiftung Preußischer Kulturbesitz und ihren nachgeordneten Einrichtungen kostenlos alle Nutzungsrechte an den Bildern/Videos ein, die während der Veranstaltung von Ihnen angefertigt wurden. Dies schließt auch die kommerzielle Nutzung ein. Diese Einverständniserklärung gilt räumlich und zeitlich unbeschränkt und für die Nutzung in allen Medien, sowohl für analoge als auch für digitale Verwendungen. Sie umfasst auch die Bildbearbeitung sowie die Verwendung der Bilder für Montagen. / By participating, you grant the Stiftung Preußischer Kulturbesitz and its subordinate institutions free of charge all rights of usage of pictures and videos taken of you during this lecture presentation. This declaration of consent is valid in terms of time and space without restrictions and for usage in all media, including analogue and digital usage. It includes image processing and the usage of photos in composite illustrations. German law will apply.
„Hyakunin isshu“ and the Hiroshige studio: Utagawa Hiroshige and „Hyakunin isshu jokunshō“
/in Sammlungen, SBB, SPK/by Ursula FlacheGastbeitrag von Dr. Freya Terryn
Fig. 1: Front cover of Hyakunin isshu jokunshō with a printed title slip (daisen 題簽) that reads “Hyakunin isshu jokunshō zen 百人一首女訓抄全” (Annotated Lessons for Women of One Hundred Poets, One Poem Each – Complete). – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA
Nicknamed the ‘artist of mist, snow, and rain’, Utagawa Hiroshige 歌川広重 (1797–1858) is one of the leading creators of the landscape imagery in Japanese woodblock prints, or ukiyo-e 浮世絵. In the 1830s he made a name for himself in the genre of topographical views, starting with his meisho-e 名所絵: prints recording famous places of Edo (now Tokyo). His decisive breakthrough followed with his prints depicting the various stations along the Tōkaidō road, a travel route connecting Kyoto with Edo, and with his prints showing landscapes of the various provinces. Nor should we forget that he was also prolific in prints of birds and flowers, actors, beautiful women, historical figures, prints of humorous content, and he made an abundant number of designs for fan prints.
Like many ukiyo-e artists, Hiroshige also created illustrations for books. It is said that he worked on more than 120 illustrated books and illustrated at least 50 kyōka anthologies. Kyōka 狂歌 (literally ‘mad/crazy verse’) are parodic or humorous renditions of traditional waka 和歌, Japanese poetry in a 5‑7‑5‑7‑7 meter. Hiroshige displays a close affinity to this genre of poetry as his first printed work consisted of book illustrations for a collection of kyōka, entitled Kyōka Murasaki no maki 狂歌紫の巻 (The Murasaki Book of Witty Poems), published in 1818. Hiroshige’s connection to Japanese poetry continued throughout his career and also manifested itself in the pictorialization of the classical Japanese anthology One Hundred Poets, One Poem Each (Hyakunin isshu 百人一首; henceforth Hyakunin Isshu). Such an example is the illustrated woodblock-printed book Hyakunin isshu jokunshō 百人一首女訓抄 (Annotated Lessons for Women of One Hundred Poets, One Poem Each; Fig. 1).
This book is the subject of a research project that explores the connection between the Hyakunin Isshu and the Hiroshige studio. More specifically, this project looks at how the Japanese woodblock print artists Utagawa Hiroshige and his successor Utagawa Hiroshige III 三代歌川広重 (1842–1894) interpreted the Hyakunin Isshu in books illustrated with woodblock prints (ehon 絵本). With a grant awarded by the Stiftung Preußischer Kulturbesitz (Prussian Cultural Heritage Foundation), I consulted Hiroshige’s book Hyakunin isshu jokunshō in the collection of the Staatsbibliothek zu Berlin (Berlin State Library; henceforth SBB), in July 2022. The SBB is to my knowledge the only collection in Europe that houses a copy of this book. During my time at the SBB, I conducted a close analysis of the book’s bibliographic data, its physical properties and component parts, while placing the book in the history of the visual and textual representation of the anthology.
Hyakunin isshu jokunshō was originally published in 1848 and proved popular enough to be reprinted three times: in 1849, 1851, and 1858. The book was a product of the highly commercial world of Japanese printmaking, and as a book illustrated with woodblock prints it was conceived, designed, published, and distributed by representatives of many different trades and professions working in collaboration. Today we can identify three parties who were involved in the book’s production, namely the publisher, the visual artist, and the writer. Other parties, such as the papermakers, binders, block cutters, and printers, remain anonymous.
The publisher of Hyakunin isshu jokunshō is Honya Matasuke 本屋又助 (dates unknown). While next to nothing is known about this publisher, an analysis of the back matter of the book’s copies from 1848, 1849, 1851, and 1858 does shed more light on his activities as a publisher and with what intention he published this book. As the back matter of Japanese books often reveals imprint information and contains the publisher’s catalog that records forthcoming titles and books currently on sale, it is possible to reconstruct the timeframe and content of the publisher’s activities. So far, I have been able to analyze back matter of digitized copies dating from 1849 and 1851 and the SBB copy (shelf mark: 5 A 230984 ROA), which is a reprint from 1858. Unfortunately, 1848 copies are rare and can only be found in collections in Japan — which remain, for now, undigitized.
From this analysis it is clear that Honya Matasuke was primarily active in the 1840s and 1850s as a publisher who issued books ranging from educational topics – for young children in general as well as aimed specifically at girls –, literary works, and illustrated books of sumo wrestlers and warriors to painting and drawing manuals. In addition, advertisements for the book included in copies from 1849 and 1851 confirm that this particular Hyakunin Isshu project was devised as an illustrated book for children and women to learn and easily understand waka poems by means of the annotated descriptions accompanying them.
Honya Matasuke was able to achieve this educational objective with the layout of the poems. As demonstrated by Fig. 2, which introduces on the right the poem composed by Emperor Jitō (Jitō tennō 持統天皇; 645–703; reign 686–697) and on the left the poem by Kakinomoto no Hitomaro 柿本人麿 (c. 653–655-c. 707–710), each page consists of a long vertical strip that contains the poem – which, with its shape, represents the tradition of composing poems on long narrow strips of colored paper –, followed by an annotated description explaining the meaning of the poem and an imaginary portrait of the poet below it. Especially the annotated descriptions were crucial for many readers to comprehend the meaning of the poem as the Hyakunin Isshu represents the history of Japanese poetry from the seventh century down to the time of Fujiwara no Teika 藤原定家 (1162–1241), who is accredited with selecting the poems. Thus, these poems contain poetic language that was at least four centuries old and that was often difficult to interpret. To provide readers with the correct interpretation of each poem, Honya Matasuke employed Yamada Tsunenori 山田常典 (1808–1863), a writer and waka poet who had received a rigorous training in waka poetry and other Japanese literary classics, making him the ideal candidate to write annotations for this Hyakunin Isshu project.
Fig. 2: Poems by Emperor Jitō and Kakinomoto no Hitomaro. – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA, 10v–11r
Next to Yamada Tsunenori, Honya Matasuke also employed not one but two visual artists. One artist was tasked with illustrating the imaginary portraits of the poets, for which the artist employed the formula of representing the poets as invariably seated figures on a raised platform with a decorated edge (Fig. 2). Similar to other illustrated books that used this formula since the 1660s, these portraits omit the signature of their maker. Therefore, it is impossible to know the identity of this artist.
The other artist Honya Matasuke employed was Utagawa Hiroshige. The presence of his signature confirms that he was tasked with illustrating eight folded sheets that were placed before the main bulk of the book that educates its readers on the one hundred poems and their interpretation (Fig. 3). From the content of these illustrations it becomes clear that Honya Matasuke intended to expand the content of the book by dedicating illustrations to The Tale of Genji (Genji monogatari 源氏物語, early 11th entury), The Tales of Ise (Ise monogatari 伊勢物語, c. 980), and silkworm cultivation. Hiroshige’s illustrations also introduce other waka poets and poems, such as the 12 poets from the Collection of Japanese Poems of Ancient and Modern Times (Kokin wakashū 古今和歌集, 905), poems relating to The Eight Views of Ōmi (Ōmi hakkei 近江八景, 15th–16th century), and specifically introduce Murasaki Shikibu 紫式部 (c. 973/978–c. 1014/1031), the author of The Tale of Genji, and Fujiwara no Teika.
This deviation from the core of the Hyakunin Isshu was not irregular because with the inclusion of these additional pages, Honya Matasuke succeeded in presenting this book as an ōraimono 往来物. As a result, Hyakunin isshu jokunshō can be labeled as a book belonging to the genre of instruction manuals issued for teaching children how to read and write and to the genre of conduct books aimed at female readers in particular. Thus, perfectly matching with Honya Matasuke’s objective for the book.
Fig. 3: These two pages contain illustrations by Hiroshige. At the top right he illustrated the poems and scents of the four final chapters of The Tale of Genji, namely Ukifune 浮舟, Kagerō 蜻蛉, Tenarai 手習, and Yume no ukihashi 夢の浮橋. At the top left, he illustrated three waka poems on the sun, the moon, and the stars. Below these illustrations we find a depiction of The Tales of Ise that shows courtier-poet Ariwara no Narihira 在原業平 (825–880) upon his sighting of Mt. Fuji (chapter nine of The Tales of Ise). – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA, 12v–13r
The consultation of Hiroshige’s book at the SBB has greatly enriched my research on the connection between the Hiroshige studio and the Hyakunin Isshu. My research stay allowed me to work on my transcribing skills and to learn more about Hiroshige and his illustrated books. I have presented preliminary findings of this research project on three occasions: an online presentation for the Berlin State Library on November 3, 2022; at the academic conference Book Historical Forum VI at the University of Leuven on November 25, 2022 (in Dutch); and at the seminar series ‘Culture in Perspective: South and East Asia’ at Ghent University on March 14, 2023. Currently I am still conducting research on this project and plan to consult an 1848 copy in a Japanese collection in the near future. Updates on this research will be revealed on my personal website and on Twitter.
Bio:
Dr. Freya Terryn is a postdoctoral researcher in Japanese Studies at the University of Leuven (KU Leuven, Belgium) and specializes in Japanese visual and print culture of the nineteenth century. With the support of a PhD Fellowship from the Research Foundation Flanders, she recently completed her PhD in Japanese Studies at the University of Leuven. She currently teaches courses on Japanese culture, art history, classical Japanese grammar, translation from Japanese to Dutch, and academic writing. When it comes to research, she is enthusiastic about the arts and material culture of eighteenth- and nineteenth-century Japan, with a particular focus on prints, illustrated books, and paintings. She also explores issues relating to artistic and commercial collaboration, the interaction between governing bodies and artists, pictorial quotation, exhibition culture, Japonisme, and the formation of Japanese art collections in Europe.
Der Beitrag erschien zuerst im SBB Blog.
Frau Dr. Freya Terryn, KU Leuven, war im Rahmen des Stipendienprogramms der Stiftung Preußischer Kulturbesitz im Jahr 2022 als Stipendiatin an der Staatsbibliothek zu Berlin. Forschungsprojekt: „The One Hundred Poets, One Poem Each across generations: A case study of picture-and-poetry books illustrated by Hiroshige and Hiroshige III“
Online-Werkstattgespräch zu dieser illustrierten Ausgabe am 3. 11. 2022
Turfanakten des Museums für Asiatische Kunst jetzt online
/in Aktuelles, Digitalisierung, Themenportale/by Martina SiebertVor einer Weile sind bereits die Fotos und Zeichnungen aus dem Zusammenhang der “Deutschen Turfanexpeditionen” als Präsentation online gegangen. Nun können auch die 21 Turfanakten, die im Museums für Asiatische Kunst (AKu) verwahrten werden, durchstöbert werden: https://iiif.crossasia.org/s/turfan.
Im Projekt wurden für das jeweilige Aktenstück/Seite die erwähnten Personen und Orte, Sender und Empfänger, sowie Sach- und Format-Schlagwörter erfasst.
Tipp: Nach Aufruf der Unterkollektion Akten, kann im Suchschlitz “Refine Search” exklusive in dieser Unterkollektion gesucht werden.
Viel Spaß beim Stöbern!
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